Tag Archives: the writing life

How to Make a Damn Good Living as a Writer

By J.A. (Julie) Kazimer

 

With a title like that you’d think I’d have an answer, right?

Well I do.

Just not one writers like to hear. So let’s get the nasty part out of the way now.

Here goes: Only a very small percentage (under 8%) of working writers are making a living strictly on their writing alone, and those that are have a backlist a mile long. Whether you buy into Digital Book World’s latest report that 85% of writers make less than $1,000 a year or not, the possibility alone is a stunning one.

At least to those not involved in the publishing industry.

We know better.

We have author friends who make little more than a college student during their internship at McDonalds. We just received a check from our publisher which was less than the stamp it cost to mail, and worse, our agent took 15%. We live in a world where daily checks of our sales, in order to determine whether or not we can afford to spurge on the whole wheat bread or just buy the white, mushy crap again, are a regular occurrence.

Okay, I might be exaggerating a bit. But for most of us, if we didn’t hold a day job or better yet, an understanding spouse/partner/sugar daddy we wouldn’t be able to support our writely habit. A habit, yes. Because, let’s face it, we aren’t in this business to become rich.

Which is what I said a few weeks ago during a presentation I was giving on social media for writers. One of the attendees disagreed. He was, in fact, writing to make money. He’d done the research, found a niche, and wrote a book, a book he admits isn’t the best, in order to make a living as a self-published author. And he was making some dough at it. Not enough to retire for good, or even make rent (but close).

Now my publishing/artist ego (the one who suffered over 10 years of rejections and strife to become a published author) immediately reacted. How dare he! We write because we can’t do anything else. We write to live, to breathe, to be titled, WRITER. Those who write for money are hacks!

And then I took a step back, let go of my emotional baggage, and thought about what I now want from my writing career, which is the ability to make a living as a writer. At one point in my life, I wanted nothing more than to be published. To hold the title of author. Now, a total of 12 books in, I want to make a living wage doing what I love.

Maybe he was on to something.

Now I don’t necessarily agree that your book shouldn’t be the best book you can write. If it’s in the world, it should be the best you can give. That being said, I do think we, at least I am guilty of this, I don’t take advantage of the cold-bloodied business side of publishing. I can research who my audience is, and then gear my work toward that audience and advertising. That makes complete sense. There is nothing wrong with writing what you love, and turning it into a revenue stream.

After all, doctors don’t just cut you open and start digging around until they find what ails you. They test, and retest, looking for what needs to be added or removed, and then they get to work. And then you get a huge bill in the mail. See, the system works.

All that being said, you do have other options for making a living as a writer. In fact, I’m currently exploring one of those opportunities.

Online dating.

Or better yet, trolling the internet for anyone will to support my writely habit.

I’m a catch!

So far I’m weighing my choices. It’s a toss-up between a Nigeria Prince and a guy selling Viagra online. Both are very interested in getting to know me better.

As long as I send $50 for a processing fee.

I’ll have to check my sales…

My Affair … by Author Terri Benson

Terri Benson1I’m having an affair. It’s OK, my husband knows all about it. In fact, he’s kind of been involved in all my affairs and he likes it.

Oh, all right! My affairs are in my books. My hunky love interests are my heroes and, even if they don’t vaguely resemble me, I’m the gorgeous heroine. That’s one of the reasons I absolutely love to write. I get to experience everything I ever dreamed, and I’m not going to get put in jail or divorced for it. Although, I did have a co-worker who read my book say they’d never look at me the same way again…

Anyway, the thing is, what I really mean (sorry, got carried away!) is that writing lets us be anything and anyone we want. We can create people we love to hate, or hate to love. We can change the world into any kind of place that suits our fancy (and our characters), and it can be centuries ago, or centuries in the future, or in an alternate future in an alternate universe. Whew.

Where else can you think up some diabolical way to kill someone off, and not worry that you’ll be carted off to the pokey? You don’t even have to use real methods, because writers can invent them. Need a poison or a weapon that doesn’t really exist, or a language to have a rousing argument in, or a pet that has one eye and one horn and flies and eats peo… (ooops, sorry, again) – you’re a writer, you can make one up that is believable!

You can write from the perspective of a child, or an animal, or a God (or Goddess) or an angst-ridden teen, or an omniscient person of the first order or whatever. But what we all must do is write something that’s worth reading. I believe that even if we don’t intend to publish what we write, we shouldn’t waste our words on something that doesn’t move us, or our readers. Of course, I’m talking fiction here, because it’s kind of hard to move your readers when you’re writing a technical manual on gear ratios (I’m sure someone out there will argue that point, but who’s writing this, anyway!?).

What I’m getting at is that we have the absolutely best job in the world—writing. We have no limits, no restrictions, no rules (except those darn editor-people ones). The only thing that would make it better is if we were guaranteed to get paid for each and every one of the words we put on paper, but hey, life’s a bitch, sometimes. At least we have fun not getting paid. Revel in your gift of words. Don’t let anyone tell you it’s “not a real job” because you can’t quit the other one and pursue writing full time (or if you can, God, I hate you!). Keep putting those letters and words and paragraphs on the page. We’re entertaining the world, after all.

Words! Gotta love ‘em.

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As a life-long writer, Terri Benson has one published novel (An Unsinkable Love), award winning short stories, and over a hundred articles – many award winning – in local and regional magazines and on-line e-zines. She has been a member of RMFW for the last several years, and her employer provides the location for the Western Slope events. She is currently promoting Western Slope events for the RMFW Publicity Committee, pelting RMFW with articles for the newsletter, and randomly blogging.

Her book, An Unsinkable Love, is temporarily down as the publisher has recently been bought and her rights reverted. But never fear, she shall overcome and those of you clamoring for a copy shall be satisfied! Visit Terri at her website. She can also be found on Facebook.

Westward Ho: Face-to-Face in a Virtual World … by Jenny Milchman

Jenny.MilchmanOn May 13th I am going to arrive in Denver after a 38,000 mile journey.

OK, maybe I should back up a bit.

Today a writer can feel like she needs to be everywhere at once. And I do mean everywhere—the internet gives us the power to be not just in everyone’s living room, but in their purses and back pockets on tablets and cell phones. Twitter, Facebook, blogs, Pinterest…where’s a writer to go?

I’d like to shine a light on a place that’s getting a little less emphasis these days. Perhaps because it’s only one place, or at least one place at a time. I’m talking about real time, live, physical sites (not websites) where writers connect with readers face-to-face.

Last year my first novel came out after a thirteen year struggle to publication. Since the only thing harder than breaking in as a debut author is building a long-lasting career as a writer, both my husband and I knew that we would have to give this thing our all. So we did the only logical thing. We rented out our house, traded in two cars for an SUV that could handle Denver in February, and withdrew our kids from first and third grades.

OK, maybe it wasn’t so logical. But once we’d done all of that, we then hit the road, car-schooling the kids, husband working from the front seat, while I visited nearly 500 bookstores, libraries, schools, and book clubs. All told, we covered seven months and 35,000 miles.

The question I get asked most often is whether it was worth it.

It’s a difficult question to answer because it comes down to what worth it means in terms of launching a writing career. Did we sell a lot of books at every stop? No, definitely not. But we knew from the outset that this was going to be less about selling books, and more about building relationships.

Milchman_RuinFallsBooksellers receive hundreds or thousands of Advance Reading Copies. They can’t possibly read them all. By going to the bookstore, I added to the work my publisher’s reps were doing of putting a book by an unknown author on the radar. 60-70% of the reading public browse in bookstores. That’s a lot of potential fans. And no matter how an event went, I would hear from booksellers weeks and even months later about a copy they had just hand sold to a person they knew would enjoy it.

The other question I hear is, “But what if I don’t have 7 months? Or 7 weeks for that matter?” My answer to that is: Don’t worry. The power of the face-to-face can be mined in 7 days. Or in a weekend. What I love about doing events is that it’s additive, and you can start with one.

Plan an event at your local bookstore, which won’t even require missing a day of work. Take a weekend road trip, making it a working vacation. Draw a radius around your hometown, and identify bookstores within it. If setting up the events seems difficult, consider working with an independent publicity firm. In this way I was able to get booked at some places that had established attendee lists, allowing me that rare author experience of walking into a crowded room.

Another factor to consider is the power of meeting your readers face-to-face. I found that as much as I enjoy communing with people virtually, there’s a powerful connection when that relationship is lifted to real time. I met people on the road whom I now consider friends. I can’t wait to meet them next time.

That’s right, I did say next time. Because with my second novel about to come out, we are set to hit the road all over again. Hope to see you in Denver!

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Jenny Milchman’s journey to publication took thirteen years, after which she hit the road for seven months with her family on what Shelf Awareness called “the world’s longest book tour”. Her debut novel, Cover of Snow, was chosen as an Indie Next and Target Pick, and nominated for a Mary Higgins Clark award. Jenny is also the founder of Take Your Child to a Bookstore Day and chair of International Thriller Writers’ Debut Authors Program. Jenny’s second novel, Ruin Falls, just came out and she and her family are back on the road. Please follow along at the tour page on her website.

You can learn more about Jenny and her novels at her website and blog. She can also be found on Facebook, Twitter, and Goodreads.

Getting the Details Right

By Mark Stevens

If I had to pick a favorite prose stylist, it might be John Updike.

(I don’t have to pick, do I?)

Some think his stuff is over-written. I happen to think he was a poet whether he was writing fiction or criticism. Or poetry.

In fact, Updike published eight volumes of poetry in addition to everything else—novels, short stories, and reams of art and literary criticism. Updike died at age 76 and, one of many fascinating tidbits I gleaned from reading Adam Begley’s new biography of the man (Updike), he even wrote his last poem about four weeks before he died.

Prolific? To say the least. David Foster Wallace once asked: “Has the son of a bitch ever had one unpublished thought?” (I’ve seen that quote without attribution, too. Was it Wallace?)

Updike wrote three hours a day come hell or high water. He was widely hailed for his style and for his ability to elevate ordinary days and ordinary feelings, layered with human depth. He was jaded, wicked, heartfelt, crude, raunchy. And elegant, too.

But he couldn’t rely purely on his imagination. One thing Begley makes clear in his lengthy and highly enjoyable portrait is that John Updike believed in research. Nearly thirty years after he started writing for The New Yorker magazine, after worldwide success and a Pulitzer Prize (the first of two), John Updike still believed in getting the details right.

Stevens_rabbitrichPreparing to to write the third book in his “Rabbit” tetralogy (Rabbit Run, Rabbit Redux, Rabbit is Rich, Rabbit at Rest), Updike decided to give his hero Harry Angstrom a new job, running a Toyota dealership in Pennsylvania. For the most part, Updike drew stories from the people and situations that were close at hand—either right down the street or at least familiar social circles. (His critics hate this about him.) As such, he knew nothing about car dealerships.

Updike, writes Begley, “rolled up his sleeves and went to work.” He hired help to untangle the “arcane protocols” of automobile finances and the corporate structure of a dealership—how salesmen are compensated, how many support staff work in the back office, and paperwork involved in importing cars and more. He visited dealerships in the Boston area. “He aimed for, and achieved, a degree of detail so convincing that the publisher felt obliged to append to the legal boilerplate on the copyright page a specific disclaimer: ‘No actual Toyota agency in southeastern Pennsylvania is known to the author or in any way depicted herein.’ ”

Credibility.

As George Saunders talks about (see this March 4 post by Mark), it’s about making the moments on the page “undeniable.” Even with his flashy style and a vocabulary that seemed like it knew no bounds, Updike started with getting the details right.

Rabbit is Rich, by the way, won another Pulitzer.

Final thought: I wish I had the kind of time a full-time writer would have to do this kind of research, but I recently spent a full day driving around Rio Blanco County with Deputy Sheriff John Scott. We drove for hours talking about life and crime around Meeker and upriver toward the Flat Tops Wilderness. I left with a fresh load of powerful details and many ways to (try and) give my new story another chance to be undeniable.
Stevens_Deputy John Scott (800x600)
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Mark StevensMark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan.

Book three in the series, Trapline, will be published by Midnight Ink in November 2014.

Getting in Bed with Your Co-Writer: The Art of Collaborative Writing (Part Two)

By Kym O’Connell-Todd and Mark Todd

Kym and Mark ToddThis is the second in a three-part installment on strategies we’ve found successful as collaborative writers. In the first part, we discussed things to look for in a compatible partner. In this part, we’ll explore examples of how that plays out in practice.

Duo-writing isn’t for everyone, but one clear advantage should be obvious – two heads mean two sets of experiences. It also means two sets of critical eyes because we each bring to the “Writing Bed” individual strengths that mitigate the individual weaknesses.

The best writers say to write what you know. That’s exactly what we did when we wrote our paranormal comedy-adventure series, the Silverville Saga. We drew upon real personalities and real situations that we’ve experienced or heard about living in the mountainous West. As you’ll recall at the end of the previous post, we cited an example of a scene where sheriff investigators and coroners from adjoining counties come together at the county line to decide who has to take possession of a decomposed corpse. That event – or something close – actually took place between Gunnison and an adjoining county. To be truthful, many of the situations in our first and second books from the series happened somewhere in at least one of our pasts.

For instance, in the first book, Little Greed Men, we inserted an anecdote where townsfolk flee from an apparently rabid dog with a frothing mouth. That dog, in reality, was Kym’s childhood pet. “Roscoe” had helped himself to a meringue pie cooling on someone’s front steps. The dog scared the wits out of the neighborhood until the cook discovered her empty pie plate.

The other scene from that same book we cited last time – the one in the embalming room – draws authenticity since Mark’s family owned a mortuary business. But writers contribute more than real-life experiences to a collaborative project. In our case, Kym’s journalism background makes her succinct to a fault. Mark, on the other hand, comes from the halls of academia and doesn’t know when to quit. Somewhere between these two extremes is the point we shoot for using each other’s complementary strengths.

Kym has a keen ear for dialog: she can hear the way different characters should talk, and the result is a distinct voice for each. Mark’s characters all tend to talk just like Mark. But Mark bravely jumps right into a scene while Kym endlessly stares at the screen waiting for the right words to come. Kym constantly plays devil’s advocate when it comes to defending the reader’s willing suspension of disbelief. If she can’t buy it, she won’t let it happen. Mark, on the other hand, happily plows through a scenario with little regard to where it comes from or where it’s going. That has its advantages, though. Mark, being a college professor and natural nerd, is  never at a loss for how to phrase things. But he tends to embellish, sometimes inserting too much literary texture (that’s the poet in him coming through). Kym champions a more nonintrusive voice, constantly reminding Mark of the kinds of books we both like to read.

Above all else, we prefer escapism – mysteries by John Sanford, Sarah Paretsky, Greg Iles, and Val McDermid; thrillers by Preston and Child, of course, but also those by John Case, Andrew Klavan, Dan Brown, Nelson DeMille, and Michael Crichton; warped fantasies (no dragons or elves) by Jonathan Carroll, Christopher Moore, Mario Acevedo, and Ramsey Campbell; sci-fi by Connie Willis, Charles Sheffield, Cordwainer Smith, John Barnes, Orson Scott Card, and Cory Doctorow. These lists could go on and on.

Okay, we do sometimes read something a little more high-brow. We like Laurie Wagner Buyer, Annie Proulx, Anita Diamant, Sara Gruen, Stacy Richter, Lorrie Moore. And yes, we even read the Pushcarts to keep our pulse on up-and-coming authors.

We read a lot because we think it helps our writing. And we’re shameless when it comes to stealing techniques that impress us. John Case gave The Genesis Code a twist in the final sentence of the book. We liked it so well that we added a final-sentence twist to Little Greed Men – or we thought we had, until the editors read it. Days before our novel went to press, we ate lunch with the publishers to pitch them the sequel. When the conversation came back to the first book, they asked if we planned to reveal the hidden identity of one of the major characters. We thought we had through implied exposition along the way as well as in our original final sentence. They didn’t get it. We rushed home and rewrote the last two paragraphs and final sentence, making that character’s identity unmistakable. It’s a decision we’ve never regretted, and almost all of our readers tell us they didn’t expect that ending. “Oh yeah,” one reader told us, “there were hints throughout the book. I just didn’t put it together until the end.”

Here’s a perfect example of what rigid writing can do to the quality of a story. We just knew the ambiguity at the end of Little Greed Men was enough to clue in our readers. We were wrong. We’ve been wrong about lots of things in our co-writing endeavors
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Several years ago, we wanted to tell an alternate history about Ankh-sen-amun, the wife of King Tut. We read lots of books, did tons of research, and then sat down to outline the story arc. We wrote extensive summaries for twenty-two carefully crafted chapters, and thought to ourselves, “Man, this book is going to write itself!” While this may work for some writers, the strategy completely killed our passion for the project. We remained steadfast and followed our outline to every detail. By six chapters, we’d gotten pretty bored. We hadn’t allowed the characters any voice in where the story was going. We all became miserable, and that manuscript still sits in a drawer at Chapter Six.

What’s become more workable for us is to create a broad-stroke outline that gives us the flexibility to still listen to our characters along the way. They may not always want to go where we had originally planned, and we’ve discovered we’d best listen to them.

We loved the movie, Romancing the Stone, about an author (played by Kathleen Turner) in search of a relationship that could match her novel series’ protagonist. Eventually she found her love (Played by Michael Douglass – gee, imagine that), but falling in love wasn’t easy.

We both tend to fall in love with our mouthiest, out most opinionated and pushy characters, but we don’t always relate to them in the same way. And certainly not like Kathleen Turner’s character did. And the process of encountering characters who take over our stories has really challenged Mark’s notion of how characters come about from the unconscious.

Our experience has produced characters who seem to have emerged at the same time for us both. Take Denton Fine in The Silverville Swindle. He was a nice enough guy from the start – so nice we got bored with him. Originally, we’d tagged Denton as our protagonist, but he turned out to be a little too white-bread for our taste. Same with our real-life friends. If they’re not quirky and eccentric, they don’t make our lunch-date list for long.

Pleasance Pantiwycke, from All Plucked Up, on the other hand, always makes our A-list for lunch. She’s a risk-taker and a slob, a black-marketeer and former female professional wrestler. Who wouldn’t enjoy her conversation? It only took a few pages for her to take over the sequel and become our protagonist.

Switch gears to Skippy from our first novel. She’s the only prominent female in the story, and one would think that Kym would empathize with her personality. Not so. Kym didn’t like spending time with her at all. Getting inside a woman’s head has always been more difficult for Kym, who finds it much easier to relate to men. Ironically, Mark got along with her just fine. This character serves as the main love interest for Billy, the story’s protagonist. We talked at length about how far their intimacy should go and decided, in the end, that it wouldn’t go far at all.

Here’s why: Several years ago, we’d bought a book on how to write erotica, hoping to make scads of money on the romance book wagon. We sat down and drafted out a torrid love scene, but it was simply too embarrassing to put into words. At least our words. “Love shaft” and “hot tunnel of passion” seemed like ridiculous and corny expressions that readers of the genre expected. We know it sells; we just couldn’t do it. When it came to shaping the relationship between Skippy and Billy, we offered a lukewarm story arc, and our editors cried foul. Either consummate that relationship or back it off, they said. We backed off and left it up to the imagination of the readers. For two authors that insist that co-writing is like good sex, we still can’t figure out why we can’t pen erotica.

Billy, don’t ask us why, turned into a protagonist that readers tend to like. We made him a cheat and a conman, and neither one of us really cared much for him. He was central, as the story unfolded, and we got stuck with him. He was also a cast member whose characteristics came from a sleazy guy we both knew years ago. We’re not naming names, but he always used to hit on Kym. Which brings us to where we find our characters. Most are composites of personality types of people everyone knows: Grady, the curmudgeon rancher; Buford, the self-interested town promoter; Howard, the endearing village simpleton – all Silverville Swindle cast members. Maybe it’s telling that we were most attached to Howard and easily crawled inside his head:

Howard liked to pedal. He didn’t have to think about anything else – just push the right foot down and then push the left foot down. Sometimes he went so slow that his bike would wobble, but then he’d stand up on his pedals and pump until he sped up fast enough that it felt like flying.

In some ways, it reminded him of massaging limbs. Whenever he helped Mr. Fine embalm bodies, Howard’s job was to squeeze the arms and legs so the blood could come out and the embalming fluid could go in. At least, that’s what Mr. Fine said it was for. First the right leg, and then the left leg. Just like pedaling.

Howard looks at the world in a very simple way that makes sense to the child in all of us, and it was soothing to write from his perspective, taking everything at face value.

Buford is modeled after a specific person, but again we’re not naming names. It’s been interesting to us to watch our community try to guess his real identity. No one ever has, and probably won’t. Buford and all of our characters emerge from some weird shared consciousness where we meet and get to know the folks who live within the city limits of Silverville and the environs.

But that’s not the strangest part of co-writing. Next time we’ll talk about those characters we didn’t know could exist when you’re a writing duo – those that somehow mysteriously leap from our collective minds and take over our stories…

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Co-authors Kym O’Connell-Todd & Mark Todd are co-authors of the Silverville Saga Series, paranormal adventure comedies that take place in an “ordinary” community sitting on intersecting ley lines – punching holes in everyday reality, causing extraordinary coincidences and the random UFO, an occasional curse, a ghost or two, and even a bit of time-travel now and then.

You can learn more about Kym and Mark and their books at the website and blog. They can also be found on Facebook and Twitter.

Inspiration

By Jeanne Stein

Recently I was asked to talk about what inspires me as a writer and a person. My first automatic response was everything. But then I realized I might be confusing inspiration with the process of creation—-taking an idea and developing it into a story.

Two different things.

The muse that sparks an idea can be anything. I get ideas from newspapers, television shows, eavesdropping on strangers’ conversations, other books. Ideas float on the air like dandelion snow. You only have to hold out your hand to grab one. Ideas are the beginning of the creative process.

Inspiration is something else. Inspiration is what makes me sit down at the computer everyday. It’s what helps me through the dark days when it seems I’m fighting a losing battle against the indifference of critics and sometimes even my agent and editor. It’s fighting the urge to give up when a brand new writer comes out of nowhere and wins that huge contract complete with movie and TV rights and a six-figure advance. And then reading the book and realizing, it is that good.

We all need inspiration. Something to recharge the soul and get us excited about life. It’s that voice inside that says keep going. It’s the message I hoped my character Anna Strong would impart. It’s the voice that says women are strong and clever and capable of great bravery—-with or without super powers.

I’ve come to believe a writer needs to be his or her own inspiration. We need to have faith in our abilities and the determination to persevere. We can take strength from those around us, but ultimately, we our responsible for ourselves.

We are all our own inspiration.

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Jeanne C. SteinJeanne Stein is the bestselling author of the Urban Fantasy series, The Anna Strong Vampire Chronicles. Her award winning series has been picked up in three foreign countries and her short stories published in collections here in the US and the UK. Her latest Anna book, Blood Bond, was released August 27, 2013. Jeanne’s newest endeavor is in collaboration with author Samantha Sommersby: The Fallen Siren Series. Published under the pseudonym S. J. Harper, the first book in that series, Cursed, was released Oct. 2013, book two, Reckoning, will be out this October.

S. J. Harper: http://fallensiren.com/
Facebook: https://www.facebook.com/profile.php?id=100000177556968

The Second Book is Like Sex … by Aaron Michael Ritchey

Aaron_Michael_Ritchey.jpgWell, Long Live the Suicide King is now in the world. It’s in the collection of books that human beings have produced. I have an ISBN for it, which is the second ISBN I have. Two down and another hundred to go. Edgar Rice Burroughs said that if you wrote a hundred books, at least a couple might be good. So that is the plan.

Now, I’ve been asked if the second time is better, worse, easier, harder?

It’s infinitely easier. Like sex.

My first time with actual sex was a disaster. I won’t go into details, but let’s just say no one, not the warmest, fuzziest romance writer nor the sleaziest porn producer could capture the tragi-comedy of my first sexual experience. But I’d like to think I got better with the whole sex thing. I did it right at least twice: both the sex thing and the book thing.

I wrote the book, edited the book, and got the book out into the world. Which for me is a minor miracle. I used to write books and book and books and then shelve them because I was too afraid to query agents or editors. And I knew that what I had was blech, but my next idea? My next magnum opus would shatter the publishing world with its brilliance. With the fire of a new idea scorching me, I would start with the lovely blank page and churn out another novel no one would ever read. And so on and so on and so on. It was good practice, but in the end, for me, if I am not seeking out readers, writing becomes an exercise of self-pleasure. And that is what I did alone for years and years.

Ritchey_Suicide KingI don’t get to sit on books anymore. I’ve spent decades working on my writing, and for me to not share my books with the world because of self-centered fear is a crime. And sad. I’ve lived most of my life too terrified to move, but not anymore.

Yes, the second book was easier. I know so much more about pre-orders, about reviews, about starting early, about the kind of marketing material I need. And I didn’t dread my book launches because a book launch is a party I throw for all the people I love.

I’m excited about hand-selling my new book, however odd it might be. The Never Prayer had a nice hook. Angels, demons, love, sure. The new book is my happy, little suicide book. It’s funny, but yeah, it’s about suicide. Yikes. However, it’s also about hope, donuts, Christian girls, the ‘hood, and a very Laurence Fishburne villain.

Like 13 Reasons Why meets The Matrix! Without the sci-fi element.

Yes, I’m still nervous about having another book out there. And yeah, I have high hopes and impossible dreams swimming around in my head, but do you know what?

I’m enjoying the process.

For right this second, I don’t need riches and fame to be happy about my writing career. I’m enjoying where I am and what I am doing right now, which is a miracle. And at times? I even pine for my pre-published days!

But that is a waste, longing for the past.

I’m doing the deal right now. I’m writing books and I’m finding publishers for them. Not big publishers, but publishers, and I’m excited about the prospect of going rogue and independently publishing.

So to celebrate, I’ll be doing a little giveaway, not just my new book, Long Live the Suicide King, but also Black by Catherine Winters and The Prophetess: At Risk by Linda Rohrbough.

All you have to do is leave a comment on this post by the end of Saturday (May 3rd) that describes one good thing about the writing life you are experiencing right now. Or, if you’re not a writer, something good about reading books, owning books, buying books, shelving books, underlining books, or anything book!

I’ll mail you out the books and it will be epic! Free books!

Life is sweet!

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Aaron Michael Ritchey’s first novel, The Never Prayer, was published in March of 2012 to a fanfare of sparkling reviews including an almost win in the RMFW Gold contest. Since then he’s been paid to write steampunk, cyberpunk, and sci-fi western short stories, two of which will appear in a new fiction magazine, FICTIONVALE. His second novel, Long Live the Suicide King, is out and giving hope to the masses. As a former story addict and television connoisseur, he lives in Colorado with his wife and two ancient goddesses posing as his daughters.

For more about him, his books, and how to overcome artistic angst, visit his website. He’s on Facebook as Aaron Michael Ritchey and he tweets – @aaronmritchey.

How and Why Would You Choose a Pseudonym?

By Patricia Stoltey

A couple of weeks ago, a reader of this blog contacted us to ask how she could go about selecting a pseudonym—one she could live with forever without regrets.

We thought that was a pretty good question, so I asked three writers in different genres how they chose their pen names.

 

Wendy Howard, our website goddess, has a plan.

“I’ll be publishing under 3 names eventually: W.J. Howard  for a mix of YA and adult, Wendy Spurlin for kids and Ruby Blythe for naughty sci fi.

I started with W. J. Howard years ago when I was mainly writing horror. Reason being, back then, women weren’t taken seriously as horror writers. That’s certainly changing. I think we’re more gruesome than men and don’t hold back.

Wendy Spurlin is my maiden name so that was easy to settle on, and Ruby Blythe took me forever to think up because you have to come up with something sexy and mysterious and consider domain names and competition on internet searches. Yeah, it’s not so easy a thing to settle on.”

 

Romance writer Thea Hutcheson also writes sexy adult romance as Theda Hudson,  so she wanted to help readers easily distinguish between the two genres.

“In the mid-eighties, I found myself unemployed, and in the course of scouring the want ads for jobs, I found an interesting ad under a general office category. The ad wanted someone for general office work — answering phones and performing paperwork, but was worded in an intriguing way. I called the number listed and it turned out it was for the Rocky Mountain Oyster, a local singles rag that was famous for personal ads. I applied and got the job.

We all used a pseudonym to work under to protect our identities. I chose Theda because I had a friend by that name so I would recognize it easily and it’s similar to Thea, and Hudson because it is enough like Hutcheson to sound familiar. I had lots of fun adventures working for that company, and, when it came time to brand my erotica, Theda was ready and willing to jump into the fun.”

 

Mystery writer Cricket McRae  has several series going under different pseudonyms plus a standalone novel. I knew her for quite awhile before I figured out she had a real name, too. She writes the home crafting mysteries as Cricket McRae, the magical bakery mysteries as Bailey Cates, her standalone as K.C. McRae

“Pen names should be memorable. A reader might not recall a particular book title, but if they can remember the author they can easily access all the books published under that name. However, memorable doesn’t necessarily mean odd. I personally tend to gravitate toward androgynous names. Someone who writes frothy romances might opt for a frothy, romantic name. A writer of hardboiled street stories might choose a pseudonym to reflect that particular sensibility.

Whatever you decide on, it’s important that the name feels like it really could be yours, that it’s something you identify with. Other people are going to expect you to answer to it, after all. Bailey is my grandmother’s maiden name, my father’s middle name, and I know two people who are named Bailey – one man and one woman. Cates is a play on another family name and rolls easily off the tongue after “Bailey.”

My final tests? Say the name fast twenty-five times. It should be relatively easy. Then write it on a piece of paper like a teenaged girl experimenting with the last name of her current crush. It should feel good to write as well. After all, you could be signing an awful lot of title pages with that name!”

 

If you’re a writer, do you use a pen name? If so, how did you choose it (or them)?

If you’re a reader, do you prefer a writer use pen names for different genres?

The Curse of the Critique Button?

I’m cursed. I can no longer watch a movie, attend a play, read a book, or (now) enjoy television without the writer in my head critiquing. And while that means I’ve finally internalized many craft lessons, it also means entertainment is much more complex. Last week, when I started griping about the slipping plotline on The Following, my man just rolled his eyes and nodded.

This was something I first noticed several years ago and, because I used to direct community theatre, I thought it was a result of directing experience. I found that I paid more attention to what other directors did in terms of lighting, costuming, and set construction. That was bad enough. When I became hyper-aware of choreography, line delivery, and how actors developed their characters, I realized writing was the culprit. I’d translated craft lessons first into my directing, then into how I watched a play.

Then, it was books. It became nearly impossible to shut off the critique in my head when I read. That aggravates me because I love to read. I focus on favorite authors but run out of books. That puts me on a search for new authors which sometimes means I grumble for a while—until I find the joy of a new discovery. I’ve learned, over time, to overlook small things but it still gets to me when I come across unmotivated characters. Especially because that makes me look closer at my own characters and necessitates editing. That’s a good thing, in the end, but it does make me complain. Ken just smiles.

Recently, though, I find it’s bleeding over into movies and television. I used to always notice costuming. Now, I see lack of motivation, manipulated plots, and lack of character arc. I leave movies knowing that I once would have been entertained but now see flaws. Television shows I enjoyed before now prompt negative comments. I can’t seem to turn off the darn critique button! I suspect it drives my family as batty as it does me but I have to give them credit for not laughing.

All that said, I’ve also developed a wonderful appreciation for things done right. I adore a well-written novel and will praise the authors who write them to no end. A well-scripted, well-directed play leaves me smiling for days. Great movies stay with me, becoming those I purchase to watch again and again.

This past month, I began to notice timing, motivation, conflict, character development, and surprise hooks as well as flaws in series TV. My list of favorites has narrowed, but I’m seeing a lot more “things done right.” This season, I’ve praised The Good Wife, True Detective, The Big Bang Theory, Mom, and Game of Thrones—an eclectic collection, each doing something different but all of them discussed in the living room as well-done.

So, yes, I’m cursed…or am I simply seeing things differently?

I suspect we all are, those of us who write.

What about you? What does your critique button have you noticing?

Going to the Garden to Eat Worms

By Kerry Schafer

 

“I’m a failure.”

“I suck.”

“I wish I were a better writer.”

“If only I were smarter/had more talent/had a different brain…”

Sound familiar?

Most of us humans are really good at beating ourselves up.  As writers, I think we are even more adept at this fun and dangerous pastime than the average denizen of the human race. We say things to ourselves that would be considered abusive if we directed them at our partners or our children or our friends. And yet we say them to ourselves, over and over and over again.

Conjure up some of the things you routinely say to yourself when you haven’t lived up to your own (or somebody else’s) expectations. Even better, actually jot them down. I know time is precious and it takes a minute, but it’s worth the time to gain the awareness of the soundtrack playing out in your head.

Here’s one of mine. Every single time I check my email and there isn’t any (or there is only spam), or if nobody is talking to me on Facebook or Twitter at a given time, I catch these words running through my head and heart:

“Nobody loves me.”

If there’s no publishing news, this turns into, “My agent doesn’t love me. My editor hates the book.” Now, this is untrue and I know it. A lot of people care about me and have shown this over and over again. My agent is awesome and my editor is a dedicated professional who has done wonderful things for my novels. The truth is that the people in my world—family, friends, and publishing people–are busy doing many and varied things. They have lives.

The lack of activity on social media or in my Inbox has no direct association to the number of people in my world who care about me and my career. I know this. And when I catch those words running through my head I’ve learned to take immediate corrective action.

When I tell you I say this to myself, though, it’s sort of acceptable, right? A little human quirk. Yep, writers are like that. No big deal. We tend to sort of shrug and smile and acknowledge that yeah, we’re not as nice to ourselves as we could be. And then we keep right on with the self abuse.

Make no question about this: it is abuse.

Picture this. You and I are out for a  drink or a cup of coffee, and I look at you across the table and say, “Nobody loves you.” As soon as I say these words out loud and direct them at another human being I’ve stopped being quirky and turned into a bitch. Especially if I follow up with some other gems like, “You’ve got no talent. I don’t know why you’re trying to write this novel because it’s totally beyond your grasp. Why don’t you just give up? You’re never going to succeed in publishing…”

At this point you’d be justified in throwing your drink in my face and never talking to me again.

Abuse is destructive. It does nothing toward inspiring creativity, motivating us toward goals, or becoming better human beings. And yet we go on, day after day, indulging ourselves in this litany of hateful commentary towards our selves. It’s time to stop it, people. We’ve gone on long enough. We need to be kind to ourselves, encourage ourselves, motivate ourselves to be the best writers we can be.

For some of us that’s a very difficult thing and some time talking to a good counselor might be in order. Since I actually am a counselor and have spent a lot of time working with clients on this issue, I’m offering five tips to get you started on changing the way you talk to yourself.

Try this:

1. If you skipped the opportunity to write down your negative self talk, take a few minutes to do it now and then come back here.  Done? Good job.

2. Now imagine that you are talking to somebody you love and value. Choose somebody who matters to you. A writer friend. Your child. Your lover. Image their face as clearly as you can, and now picture yourself saying these things to them.

3. Shift the self talk into something positive that you would actually say to somebody you were trying to encourage. (I suggest that you do write this down. There is something in the physical act of putting those words on paper that helps us rewire our brains.)

Example: “If only I had more talent…” might change to “I am working every day on mastering my craft and learning new skills.”

“I’m never going to succeed in publishing” might shift to, “I’m going to write the best book I can. And then I’m going to write another one. The more I write and the more I hone my skills, the more likely it is that I will succeed.”

Take the time to shift every one of the abusive self statements you wrote down earlier.

4. Monitor your thoughts. These patterns of self talk are engrained and don’t just magically go away. Watch for them. When you have a sinking feeling of doom and gloom, check what’s playing in your head and change the station.

5. Adopt a zero tolerance policy for self abusive thinking. Just don’t allow it. When you catch yourself doing it, make yourself stop. Make the shift to something positive. Have some compassion for yourself, as you do for others.

Remember: you are stronger and braver than you believe yourself to be.

 

~~~~~~~~~~~~

Kerry Schafer loves to hang out where the weird things are—in the space where reality and fantasy meet. She is the author of The Books of the Between, published by Berkley Press. Her bestselling debut, Between, is available in mass market paperback, Kindle, and Nook. The second book in the trilogy, Wakeworld, releases in April 2014. For more about Kerry, visit her website.